Text/Yan Xiao'er describes the philosophical text
Graph/Network
In order to pursue the truth of the violation of the drama, without the knowledge of the female protagonist, the male protagonist fakes the real play, which was directed by Bertolucci in 1972, "The Last Tango in Paris", although it was nominated for an Oscar for its profound reflection on human nature, the director and the actor who played the male protagonist in the play hurt the female protagonist, but ironically showed an ugly scene in the disaster of human nature.
I have always felt that the original intention of creating works that show the evils of human nature should be to oppose the dark side of human nature embodied in the works. But obviously in order to curb the darkness, he is doing the same thing as the darkness, which is the inversion of the horse, and it is more chilling than the evil itself.
When an evil person tells the world not to do evil, there must be some kind of "distortion" behind this.
The Last Tango in Paris is a relatively large French film.
At the beginning of the film, Bacon's painting exudes an autistic, dark, and even distorted atmosphere is presented in front of his eyes, suggesting that the film will be like a painting, with sharp "brushstrokes" and "tones" as "distinct" as blood.
The male protagonist of the film is a middle-aged writer named "Paul", played by "Marlon Brando".
The "Paul" in the movie comes from the United States, settles in France, is a middle-aged writer, his mood is not very good, the bustling streets of Paris, the loss of soul in his figure can not be hidden.
He would even curse the tram that roared past, because the sound of the tram passing by was too harsh.
Paul's whole being was low and gloomy because he had just experienced the death of his wife. Paul's wife committed suicide and walked not "peacefully", and the scene of suicide impressed Paul because of its horror. At this time, Jeanne, who exuded youth and vitality, appeared, and the two passed by.
Then, the two said goodbye in an apartment waiting for the new owner, and without much verbal communication, the two had a relationship on the windowsill, and they were a little embarrassed.
Later, even though Jeanne's fiancé came to Paris, Jeanne often went to the apartment to meet Paul.
Jeanne didn't know much about Paul, the Paul in her eyes always looked a little melancholy, the whole person was a little dull, Jeanne also tried to understand Paul, but about Paul, Jeanne only knew one message from his mouth: Paul's university in the Congo, specializing in the study of how whales reproduce...
Paul's mystery puzzled Jeanne, and Paul's special fetish for "intimacy" attracted Jeanne and hurt Jeanne. Because of Paul's insistence, when the two had an "intimate relationship," Paul made some strange and even cruel demands.
Because of Paul's special habits and concealment of his past, Jeanne is angry and sad, and she wants to leave, but unconsciously, he feels that he can't leave this mysterious and rough man.
In addition to interpreting the complex relationship between the two, the film also has a "side line" about the chaotic memories of the two. About Jeanne's memories, we see more mold growing on the wall, and some of the words in the notebook about male nouns, male and female characteristic organs, etc., the latter of which she mostly extracted from the encyclopedia, most of which appeared in her adolescence, for Jeanne, growth is a sin.
Paul's memory, on the other hand, was even more confusing than Jeanne's. Even more eye-catching in Paul's memory is his gray childhood.
Paul's father, who was an alcoholic, a fighting man, and a casual man-woman relationship, was not a qualified husband, let alone a qualified father. Paul's mother, although also somewhat romantic, is also an alcoholic.
As for Paul's upbringing, it didn't go well, he was a boxer, but with bad luck he suffered a lot, and then he worked as an actor, drummer, journalist, etc., and then he came to Paris, fell in love with a rich woman and married. After that, he began to eat "soft rice".
Of course, Paul's marriage was not happy, after the death of his wife, she found the lover of her wife when she was alive, and found that her lover was very similar to her temperament, and her pajamas were the same as her own. Completing the last remembrance of his dead wife, Paul completely let go of his nostalgia for his late wife, and this moment was like a new life.
After all this, Paul dresses up and intends to live a good life with Jeanne, but Jeanne has made up her mind to end the chaotic relationship, which is her way of escaping her feelings. Paul's love scared her a little, his love was crazy and devastating.
Jeanne begins to prepare for the wedding with her new lover, Tom, but meets Paul on the street.
Jeanne rejects Paul's "request" to start over, but Paul is unwilling to give up and continues to pester. The two chase each other to a hall where a tango competition is being held..... After reveling and pestering on the dance floor, Jeanne wants to leave, but Paul's entanglement seems to be the same as a demon that is difficult to shake off.
Paul followed Jeanne to her mother's house, where he told Jeanne that he wanted to know Jeanne's name.
Jeanne said her name and then hit Paul with her father's pistol.
"That's your name, I remember." Paul stumbled onto the balcony and eventually collapsed, curled up like a baby, and died on the balcony.
In the room, Jeanne, still holding a gun in her hand, said to herself, she was practicing what she would say to the police: "I don't know him, he stalks me, wants to invade, I don't know his name....."
Jeanne is not all a lie, in the play, she really does not know the name of "Paul", and the actress who plays "Jeanne" outside the play, "Schneider", is indeed violated.
In order to be realistic, the male protagonist really violated "Schneider" when shooting the "violation" scene in the movie, this scene is very real, because it is true in itself, every facial expression, every body language, for the actress who plays "Jeanne", "Schneider", is a real reaction.
It has nothing to do with acting, only with injury.
Maria. After Schneider made this Oscar-nominated film, he left a huge shadow in his heart. Because the male protagonist used butter when filming the film to abuse her, Maria. Schneider avoided butter and only used olive oil for cooking. In the years that followed, because she could not digest the humiliating experience of being forced to fake the real thing, she eventually suffered from depression. In 2011, 58-year-old Maria. Schneider died, and 5 years later, her tragic experience reappeared in people's vision.
As for Mary. The things that Schneider was violated while acting, in addition to the male protagonist himself, including the film director and others, are all aware.
The indifference of the onlookers, and the silence of the victims, make many evils move under the eyes of the people until the victims are engulfed. But it is ironic that films that are clearly showing human nature have eventually become the shapers of complex human nature.
The original intention of the film should not only be to pursue realism, but also to show the good or bad in human nature as much as possible through interpretation, so as to promote a certain positive and positive emotion, values and so on.
If it is deliberately created to reflect the darkness, in my opinion, this kind of film has no value, only crime and scornful "evil".
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